Marketing is the
lifeblood of any startup, and certain marketing mistakes have the potential to
bring your new business crushing down. In the preliminary stages of launching a
new business idea, entrepreneurs are prone to make marketing mistakes. This is
because nine times out of ten, the founder of the startup is not a marketing
expert.
Avoiding these
mistakes saves you months of trying to salvage the situation. Working with
marketing specialist helps you circumvent these mistakes. Are you an expert
article writer? Writezillas allows you to
write jobs that work for you.
1. Jumping too quickly into Big Marketing
Everyone who launches
a startup wants it to succeed. That is why most founders find themselves
jumping to big marketing too soon. But for you to take the industry by storm,
you have to follow a tried and tested procedure.
This is a common marketing
mistake startup founders make and they end up messing with your budget
before they get their idea off the ground. Spending too much too soon sets you
up for targets your small business is incapable of meeting.
Don’t gamble on
what you think might work; instead, take your time to learn the market and
which marketing channel is suited for your business.
2. Marketing Through the Wrong Channels
If you take your
time to understand which channels works best for your business, you won’t waste
time and energy marketing on the wrong platform.
The number of
channels you can use to connect with prospects are unlimited. However, not all
of them can work for you. Determine where your target audience is and how best
you can get their attention.
3. Hiring an In-Staff Marketing Team too soon
Every startup up
founder wants to work with the
best marketing team. However, hiring an in-staff marketing team too soon is
a bad idea.
As a small
business, you cannot afford to invest in high-caliber marketing specialists.
Turn to the low-cost options to ensure you don’t exhaust the capital you set
aside to get the business off the ground.
4. Spending too Much Time Perfecting the Brand Image
As a startup,
the last thing you should do is rebrand. Since your business is not established
yet, brand image is the least of your worries.
Even though you
need to introduce your business to the market, there is such a thing as
excessive brand promotion. Making too much noise about your brand; especially
on social media only makes prospects want to tune out.
5. Accommodating Too Many Voices on Marketing Decisions
The more people
you listen to before making a marketing decision, the longer it takes to
finalize anything. Everyone will always have an opinion when it comes to
marketing a startup.
As a founder,
you need to learn how to exercise your power. After all, you can only implement
one marketing idea at a time.
6. Beginning to Chase Competitors too soon
One can only
compete with someone who’s on their level. Chasing rival businesses that were
in the market before you is a wrong move.
During the initial
stages of launching a startup, all you should focus on is identifying your
competitors in the market.
7. Forgetting to Track Your Progress
Tracking
everything you do ensures you don’t spend too much on strategies that don’t
give you reasonable return on investment. You need to learn how to measure
results for the onset as this is a practice you should maintain as a business
owner.
Conclusion
Learning about
mistakes startup founders make ensures you avoid them as you launch your
business. The initial stages of launching a startup play a crucial role in the
success of a venture.
Every week, we’ll give you an overview of the best deals for designers, make sure you don’t miss any by subscribing to our deals feed. You can also follow the recently launched website Type Deals if you are looking for free fonts or font deals.
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Fran is a strong yet elegant slab serif family available in six weights, from a gentle thin to a vigorous ultra. It has a subtle and quiet character which gradually grows louder as the weight increases. This makes the lighter styles perfectly suited for continuous texts and the heavier ideal for sizes that demand the reader’s attention. Plus, loads of OpenType features offer you even more flexibility with the family.
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Every week, we’ll give you an overview of the best deals for designers, make sure you don’t miss any by subscribing to our deals feed. You can also follow the recently launched website Type Deals if you are looking for free fonts or font deals.
Draft Natural Complete 56-Font Family
Draft Natural Font Family features a subtle, organic texture with a highly realistic grain. Featuring a warm, authentic feel, this typeface’s base fonts include upper and lowercase letters in 4 widths, 4 weights and 3 distinct texture styles. It’s like getting 56 individual fonts in 1 discounted deal.
The 4-in-1 Extended Creation Kit sports over 700 incredible design elements culled from a quartet of creation kits featuring animals, nature and crafts. With design elements, shapes, logo templates, scenes and more, you’ll have all you need to create masterful logos, packaging, apparel, prints and more.
With Slides, you can whip up some seriously impressive animated websites in minutes. Responsive and retina-ready, the slides framework allows you to customize over 200 high-quality slides, mixing and matching all sorts of modules from contact forms to social links. You can even start with any one of 16 pre-built templates if you want to hit the ground running.
Make your presentation even more attractive with our Corporate Stationery PSD Mockups Pack! Create premium quality images by just dragging and dropping items in Photoshop. To give you a better start we have crafted some premade scenes and templates ready to use. Just replace the design in to the smart object layer, hit save and you are done. This pack also include 20 high quality textures that you can use as a background.
Fran is a strong yet elegant slab serif family available in six weights, from a gentle thin to a vigorous ultra. It has a subtle and quiet character which gradually grows louder as the weight increases. This makes the lighter styles perfectly suited for continuous texts and the heavier ideal for sizes that demand the reader’s attention. Plus, loads of OpenType features offer you even more flexibility with the family.
Get the Perfect Watercolor Illustrations with Watercolor Creator
You need watercolor illustrations but don’t have time to learn how to draw or how to use the next Photoshop action? The answer is Watercolor Creator! Don’t waste your time, just open this PSD file, add your image and get the watercolor illustration you need. Easier than you imagine – no actions, no brushes, just one PSD file. All elements are based on real watercolor elements. 100% realistic effect. Also you’ll get “How to use” instructions and a huge gradient collection as bonus.
Every week, we’ll give you an overview of the best deals for designers, make sure you don’t miss any by subscribing to our deals feed. You can also follow the recently launched website Type Deals if you are looking for free fonts or font deals.
Draft Natural Complete 56-Font Family
Draft Natural Font Family features a subtle, organic texture with a highly realistic grain. Featuring a warm, authentic feel, this typeface’s base fonts include upper and lowercase letters in 4 widths, 4 weights and 3 distinct texture styles. It’s like getting 56 individual fonts in 1 discounted deal.
The 4-in-1 Extended Creation Kit sports over 700 incredible design elements culled from a quartet of creation kits featuring animals, nature and crafts. With design elements, shapes, logo templates, scenes and more, you’ll have all you need to create masterful logos, packaging, apparel, prints and more.
With Slides, you can whip up some seriously impressive animated websites in minutes. Responsive and retina-ready, the slides framework allows you to customize over 200 high-quality slides, mixing and matching all sorts of modules from contact forms to social links. You can even start with any one of 16 pre-built templates if you want to hit the ground running.
Make your presentation even more attractive with our Corporate Stationery PSD Mockups Pack! Create premium quality images by just dragging and dropping items in Photoshop. To give you a better start we have crafted some premade scenes and templates ready to use. Just replace the design in to the smart object layer, hit save and you are done. This pack also include 20 high quality textures that you can use as a background.
Fran is a strong yet elegant slab serif family available in six weights, from a gentle thin to a vigorous ultra. It has a subtle and quiet character which gradually grows louder as the weight increases. This makes the lighter styles perfectly suited for continuous texts and the heavier ideal for sizes that demand the reader’s attention. Plus, loads of OpenType features offer you even more flexibility with the family.
Get the Perfect Watercolor Illustrations with Watercolor Creator
You need watercolor illustrations but don’t have time to learn how to draw or how to use the next Photoshop action? The answer is Watercolor Creator! Don’t waste your time, just open this PSD file, add your image and get the watercolor illustration you need. Easier than you imagine – no actions, no brushes, just one PSD file. All elements are based on real watercolor elements. 100% realistic effect. Also you’ll get “How to use” instructions and a huge gradient collection as bonus.
…that would make sense. It’s a web URL anyway, so it will work for anyone and has information about the podcast, as well as a list of recent shows you can even listen to right there. For Apple folks, you might be redirected in-app (mobile) or it becomes one click away (desktop). But for folks on Android or Linux or Windows or something, that’s not particularly useful.
What are the other possibilities?
Podcasts are essentially dressed up RSS, so giving people a link to the feed isn’t out of the question. We do that on both ShopTalk and CodePen Radio:
I like PocketCasts for my podcasts. I feel like this used to be more obvious, but pasting in an RSS link to search does seem to find the feeds.
I would think (and hope!) that most podcast apps have some way to subscribe manually via feed. But… pretty nerdy and probably a little too dangerous for just a „Subscribe to Podcast” link.
For Android specifically, there is a site where you can put your feed URL after „subscribeonandroid.com” and get a special page just for that:
If the listener has a one click supported app on their android device, the App will load automatically.
And clearly there are some options:
I find the most common option on podcasts is to link to a soup of popular options:
I think that’s probably a safe thing to do. For one, it signals that you’re on top of your game a bit and that your show is working on major platforms. But more importantly, podcast listeners probably know what platform they mainly use and clicking on a link specifically for that platform is probably quite natural.
Speaking of major platforms, Spotify is going big on podcasts, so linking directly to Spotify probably isn’t the worst choice you could make.
But there are situations where you only get one link. Instagram is notable for this. No links on posts — only the one link on your profile. You could send them to your website, but of course, with podcasts, the name of the game is making it easy to subscribe. That means getting people right there is best. But also with stuff like tweets, you can’t always deliver a smorgasbord of links. Hence the title of this blog post. If you gotta link to just one place to subscribe, where should it be?
Visiting on desktop gets you the smorgasbord of links. Visiting on my iPhone, I get a direct link to Apple Podcasts.
That’s what they do:
Auto-open installed Podcast Apps native to listener’s iOS, Android, and other mobile and smart watch devices. Each smart link also has a Show Page that desktop users will see with links to that show in Apps like Apple & Google Podcasts, Spotify, Stitcher, Overcast, and other podcatchers.
They apparently use all kinds of data to figure it out.
… will detect the listener’s device, geo, and other factors and send them to your show in pre-installed podcast apps.
Anybody can make a redirect link to particular platforms. Like, we could have built shoptalkshow.com/spotify and shoptalkshow.com/itunes and redirected to those places, but what you get here is fancy auto-detection in a single link.
I signed up for it for ShopTalk, so we’ll see if we end up using it much or not.
…that would make sense. It’s a web URL anyway, so it will work for anyone and has information about the podcast, as well as a list of recent shows you can even listen to right there. For Apple folks, you might be redirected in-app (mobile) or it becomes one click away (desktop). But for folks on Android or Linux or Windows or something, that’s not particularly useful.
What are the other possibilities?
Podcasts are essentially dressed up RSS, so giving people a link to the feed isn’t out of the question. We do that on both ShopTalk and CodePen Radio:
I like PocketCasts for my podcasts. I feel like this used to be more obvious, but pasting in an RSS link to search does seem to find the feeds.
I would think (and hope!) that most podcast apps have some way to subscribe manually via feed. But… pretty nerdy and probably a little too dangerous for just a „Subscribe to Podcast” link.
For Android specifically, there is a site where you can put your feed URL after „subscribeonandroid.com” and get a special page just for that:
If the listener has a one click supported app on their android device, the App will load automatically.
And clearly there are some options:
I find the most common option on podcasts is to link to a soup of popular options:
I think that’s probably a safe thing to do. For one, it signals that you’re on top of your game a bit and that your show is working on major platforms. But more importantly, podcast listeners probably know what platform they mainly use and clicking on a link specifically for that platform is probably quite natural.
Speaking of major platforms, Spotify is going big on podcasts, so linking directly to Spotify probably isn’t the worst choice you could make.
But there are situations where you only get one link. Instagram is notable for this. No links on posts — only the one link on your profile. You could send them to your website, but of course, with podcasts, the name of the game is making it easy to subscribe. That means getting people right there is best. But also with stuff like tweets, you can’t always deliver a smorgasbord of links. Hence the title of this blog post. If you gotta link to just one place to subscribe, where should it be?
Visiting on desktop gets you the smorgasbord of links. Visiting on my iPhone, I get a direct link to Apple Podcasts.
That’s what they do:
Auto-open installed Podcast Apps native to listener’s iOS, Android, and other mobile and smart watch devices. Each smart link also has a Show Page that desktop users will see with links to that show in Apps like Apple & Google Podcasts, Spotify, Stitcher, Overcast, and other podcatchers.
They apparently use all kinds of data to figure it out.
… will detect the listener’s device, geo, and other factors and send them to your show in pre-installed podcast apps.
Anybody can make a redirect link to particular platforms. Like, we could have built shoptalkshow.com/spotify and shoptalkshow.com/itunes and redirected to those places, but what you get here is fancy auto-detection in a single link.
I signed up for it for ShopTalk, so we’ll see if we end up using it much or not.
It would surprise me if you’d never come across a ghost button 👻. You know the ones: they have a transparent background that fills with a solid color on hover. Smashing Magazine has a whole article going into the idea. In this article, we’re going to build a ghost button, but that will be the easy part. The fun and tricky part will be animating the fill of that ghost button such that the background fills up in the direction from which a cursor hovers over it.
In most cases, the background-color has a transition to a solid color. There are designs out there where the button might fill from left to right, top to bottom, etc., for some visual flair. For example, here’s left-to-right:
There’s a UX nitpick here. It feels off if you hover against the fill. Consider this example. The button fills from the left while you hover from the right.
Hover feels off 👎
It is better if the button fills from our initial hover point.
Hover feels good 👍
So, how can we give the button directional awareness? Your initial instinct might be to reach for a JavaScript solution, but we can create something with CSS and a little extra markup instead.
For those in camp TL;DR, here are some pure CSS ghost buttons with directional awareness!
Let’s start by creating the foundations of our ghost button. The markup is straightforward.
<button>Boo!</button>
Our CSS implementation will leverage CSS custom properties. These make maintenance easier. They also make for simple customization via inline properties.
Great! We have a button and a hover effect, but no fill to go with it. Let’s do that next.
Adding a fill
To do this, we create elements that show the filled state of our ghost button. The trick is to clip those elements with clip-path and hide them. We can reveal them when we hover over the button by transitioning the clip-path.
Child element with a 50% clip
They must line up with the parent button. Our CSS variables will help a lot here.
At first thought, we could have reached for pseudo-elements. There won’t be enough pseudo-elements for every direction though. They will also interfere with accessibility… but more on this later.
Let’s start by adding a basic fill from left to right on hover. First, let’s add a span. That span will need the same text content as the button.
<button>Boo!
<span>Boo!</span>
</button>
Now we need to line our span up with the button. Our CSS variables will do the heavy lifting here.
Finally, we clip the span out of view and add a rule that will reveal it on hover by updating the clip. Defining a transition will give it that cherry on top.
So, how might we add directional awareness? We need four elements. Each element will be responsible for detecting a hover entry point. With clip-path, we can split the button area into four segments.
Four :hover segments
Let’s add four spans to a button and position them to fill the button.
Uh-oh. There’s an issue here. If we enter and hover one segment but then hover over another, the fill direction would change. That’s going to look off. To fix this, we can set a z-index and clip-path on hover so that a segment fills the space.
Now, we can update the CSS. Referring to our left-to-right fill, we can reuse the styling. We only need to set a specific clip-path for each element. I’ve approached the ordering the same as some property values. The first child is top, the second is right, and so on.
With a little extra markup and some CSS trickery, we can create ghost buttons with directional awareness. Use a preprocessor or put together a component in your app and you won’t need to write out all the HTML, too.
Here’s a demo making use of inline CSS variables to control the button color.
Looking for inspiration? Why not consider taking a look at the past—graphic design history, that is. In this article, we’ll take a look at five different points in design history and see how they could potentially inspire your next design project.
Why Design History?
History Has Value
Personally, I don’t think it’s uncommon to see a lot of emphasis on design trends. Who doesn’t want to be relevant? We, as content creators, want to know what’s stylish, what’s popular, and ultimately, what people want to see (and that kind of awareness is generally smart!). We want our portfolio and our presence to look up to date and in touch with our target audience, whether it’s niche or broad.
However, there’s something to be said for history—design history, specifically.
Using design history as inspiration is more than creating a „retro design”. We could potentially do that, in theory—but using history as a point of inspiration (or even continued education) is not necessarily exclusively about keying into a nostalgic „gimmick”. It can be a rich opportunity, not only to explore the history of your craft, but also to take what you’ve learned and push it in a fresh, modern direction.
This concept, much like design itself, isn’t new. We can see evidence of design’s history all around us—some concepts just seem to be timeless, don’t they?
We could argue that strong usage of the principles of design makes for a good design—which, in some regards, is independent of aesthetic. However, it’s hard to say aesthetic isn’t important—form and function are a great team.
In my opinion, a historical aesthetic or visual perspective often makes a resurgence (or sticks around for the long haul) for a few reasons:
We’ve seen a lot of that in the late 2010s with the 1980s, and I get it. I’m part of that generation that grew up in the 80s and 90s. I love it. A big part of a successful design is connecting with your audience in a meaningful way, and this resonates with me, personally.
It reminds me of how I remember the 1950s being pretty popular in the 1980s. As a kid, I didn’t really get it (or connect with it)—but my parents’ generation sure did. Playing into the preconceived ideas of our target audience can be a powerful perspective.
Sometimes, you get a concept that really connects with the audience for the long haul. A great example is the Coca Cola logo. It’s had its tweaks, but it’s generally withstood the test of time since one of its revisions in the early 1900s (with the exception being some rebranding in the mid-80s).
Then, sometimes we get a concept that comes back in a different way—as a source of inspiration. Wood type posters, for example, heavily employed justified type that is „stacked” on top of itself. Variation in type is often line by line, with variations in style, weight, and width.
How many times have you seen a fast food bag with stacked, justified type? A recent example I’ve spotted is on Qdoba’s food bags; notice the varied type, notice the justified alignment.
So let’s take a look at a handful of periods from different parts of graphic design history and see how you can recreate some of the key aspects of each aesthetic. Looking „under the hood” often makes me think about my own work and projects in a different way.
Art Nouveau
An Introduction
Art Nouveau has been pretty popular in the last decade; I’ve seen a lot of fan art, for example, redone in an Art Nouveau-like style. It’s a popular aesthetic for a reason—it’s beautiful! The late 1800s and early 1900s were an interesting time in history; many places in the world were in the midst of large economic and industrial changes. Art Nouveau was an attempt to make the growing market for applied arts more „artful”.
Aesthetically, Art Nouveau tends to feature flowers and foliage and/or organic, swooping line work. It is often quite ornate, and it’s not unusual to see bold, sweeping line work in strategic places to create a sense of flowing movement.
When discussing the Art Nouveau period, one of the most well-known and well-loved artists is likely Alphonse Mucha; observe one of his works „6th Sokol Festival”, below. Note the emphasis on the use of organic shape, form, and line. There’s an ornate quality to the work; we see this reflected in the more supplementary parts of the composition too. For example, take note of the decorative borders and the line and shape used within the typography.
So let’s create something ornate and organic. Since we won’t have time in this article to walk through an entire illustration, let’s create something with a typographic focus.
Let’s start out by creating a basic layout. I want emphasis on the type, so I’ve placed it in the center of my composition. I deliberately used typefaces that work with my target aesthetic—flowing and curved.
Bringing It Together
To push this further, I added ornate, decorative elements. Remember, Art Nouveau has an organic quality—so even though I wanted to work with a somewhat symmetrical „frame”, I still tried to incorporate some organic variation and asymmetry, particularly in the background. How does this visually communicate to you?
The International Typographic Style
An Introduction
The International Typographic Style, also referred to as Swiss Style, is a concept that emerged and developed in the early to mid-1900s. It typically relies on a grid to organize and present content; there’s also an emphasis on asymmetry and sans serif type.
Most of us who have studied design, whether on our own or in an academic setting, have learned about using a grid—creating visual relationships and associations via a grid system has been a cornerstone of my studies, personally. The International Typographic Style is one of those history subjects that just looks timeless to me—check it out.
„Auto Club of Switzerland Poster”, Joseph Müller-Brockmann; „Gisele”, Armin Hofmann; „Tempel Tee-Haus Japan”, Armin Hofmann
Defining Attributes
However, simply using a grid isn’t all there is to this historic point in design history. Shapes or photographic elements often took the wheel, while illustrative elements were not incorporated. As the name would imply, there was an emphasis on typography, often as a key element. Symmetry was avoided, with a particular emphasis on alignment to the left, rag right.
Let’s take a look at „Zürich Town Hall Poster” by Josef Müller-Brockmann, below. Note the geometry and the visual relationships that the parts of the composition share. The shapes both create and reinforce the grid that the layout relies upon, while also creating both interest and movement.
„Zürich Town Hall Poster”, Joseph Müller-Brockmann
A Sample Design
Let’s create an example that’s clean and heavily relies on a grid. We’ll create basic shapes ourselves—no assets needed for that—and we’ll put a lot of emphasis on our typography.
However, the following typeface is utilized in this example:
I started out by clearly defining a grid. This will directly influence where I’ll place my type and how I establish my hierarchy. In the below example, the grid is visible, for your reference—but we won’t see it literally drawn out in the final version.
Bringing It Together
Notice how we can use design principles like scale and proximity to help promote the hierarchy here. Remember, asymmetry is a big part of this aesthetic. Do you „see” our grid? It’s not literally there anymore, but the elements of our design heavily imply and rely upon it.
De Stijl
An Introduction
De Stijl is an interesting movement, because we see some of the visual ideas from Swiss Design—there’s a lot of emphasis on a grid, but the guidelines are a bit more specific. We have emphasis on the horizontal and vertical in De Stijl—and color is limited to black, white, and primary colors. Abstraction and geometry are key here.
This might sound unusual to you as a content creator today—I can remember first seeing De Stijl and thinking, „How could someone design like that? Isn’t that really limiting?”
Think, however, about trendy color schemes, branding guidelines, and even interior design. Do you welcome every color, every aesthetic into your work or even your spaces? Restriction isn’t necessarily „bad”.
In this case, it was about the exploration of a visual ideal.
De Stijl was about abstraction and the appreciation of simplicity, as opposed to some of the „visual excess” seen in movements like Art Deco and Art Nouveau.
De Stijl has a pretty distinct look, in my opinion—limited colors and an emphasis on clean, geometric space. So let’s stick with a clean, geometric sans serif, line, and limited color.
The following typeface is utilized in this example:
I started by creating a grid, although this time my grid is more visibly and literally present.
Bringing It Together
Color and value can be used to create interest—that concept is rather independent of aesthetic or historical movement—but in this case, I decided to strategically apply the limited color scheme in a way that helps balance the composition and create emphasis.
Dadaism
An Introduction
Dada is an interesting movement; I would describe it as visually rebellious. However, it wasn’t necessarily always „chaos for chaos’s sake”. Instead, in many cases, it was a response to current events, a response to distrust, and/or a way of challenging what is and is not „art”.
This is an interesting movement to look at—especially after De Stijl and the International Typographic Style. Instead of order, we’re looking at the abstract and challenging what should and should not visually „be”. The subjective nature of art and design, as well as its role as a responsive and communicative tool, is an interesting concept to explore, regardless of the time period.
„Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic”, Hannah Höch
Defining Attributes
It’s difficult to define Dada as a singular aesthetic because the premise was breaking the rules and being non-conformist. There wasn’t supposed to be order or playing into expectations. Instead, the idea here was to subvert those expectations and challenge them.
For example, let’s look at Theo van Doesburg’s „Kleine Dada Soirée”, below. It’s quite jumbled and abstracted, but that’s also the point. A poster „should” generally be legible, with a well-established hierarchy and a clear message. This challenges all of those ideas, but it’s also the premise that it seeks to communicate to the audience.
So, with this sample concept, let’s just have some fun—let’s throw everything out of the window. I must admit, as a content creator, sometimes I get really fixated on what’s „the right thing—or most universally enjoyed thing—to do”.
While the intention of Dadaism was more complex than this, it’s still a perspective I find refreshing, when thinking about my own work.
Here are the typefaces I experimented with in this example:
Let’s break the grid. I started by abstractly placing typography on my canvas.
Bringing It Together
That’s not to say that we can’t communicate here. I decided to portray the phrase „Where am I?”—and I did so in a really disjointed and rather chaotic way. My objective was to visually communicate the feeling of being lost—there is no path and there is no order. I added some texture and imagery to help push my concept further.
The New York School
An Introduction
The New York School refers to a time in design history in the mid-1900s. We see similar ideas revolving around structure, visual associations, and even „the grid”—but with a degree of whimsy and informality.
Here’s an example by graphic design great Saul Bass; notice how we see organized structure here, in this poster for „The Man With the Golden Arm”, but there’s some expressive variation thrown into the mix too. The jostled shapes and the strategic informality are very communicative, even though the shapes themselves are simple.
Any time I’ve studied or taught design history, one of the most popular names that pops up, time and time again, is Paul Rand—and for good reason. He created some really outstanding, timeless works. The ABC logo? Paul Rand. The classic UPS logo? Paul Rand. The IBM logo? Paul Rand. His work generally embodied the idea that strong design is a partnership of form and function used to visually communicate an idea.
Personally, when I think of The New York School as a part of design history, I think of concept—an emphasis on communicating that concept in a visual way. The old-school UPS logo is a great example—we see a shield, which communicates trust and protection, and we see a package on top, which the shield „holds up”.
So, in this composition, let’s focus on communicating a concept in a visual way. I decided I wanted to communicate that giving flowers is a loving gesture—or that if you give a flower, it can be an expression of love or affection.
Here are the images I worked with in this example:
I started off by deciding where I wanted the parts of my composition to go—like a basic thumbnail.
Bringing It Together
Then, I arranged the lips to visually associate with the top of the flower, visually associating them as one and the same. The kiss isthe flower—because the flower is the kiss.
This Is Just the Beginning!
Thank you for joining me on this survey of different points in graphic design history! These are just some ideas to get you started and inspired. There’s so much more to explore here. If you’d like more design history in your life, I’d highly recommend picking up a copy of Megg’s History of Graphic Design; it’s a marvelous book!
Good luck with your research, exploration, and creative projects—happy designing!
If you enjoyed this article, here are some others you might enjoy!
Looking for inspiration? Why not consider taking a look at the past—graphic design history, that is. In this article, we’ll take a look at five different points in design history and see how they could potentially inspire your next design project.
Why Design History?
History Has Value
Personally, I don’t think it’s uncommon to see a lot of emphasis on design trends. Who doesn’t want to be relevant? We, as content creators, want to know what’s stylish, what’s popular, and ultimately, what people want to see (and that kind of awareness is generally smart!). We want our portfolio and our presence to look up to date and in touch with our target audience, whether it’s niche or broad.
However, there’s something to be said for history—design history, specifically.
Using design history as inspiration is more than creating a „retro design”. We could potentially do that, in theory—but using history as a point of inspiration (or even continued education) is not necessarily exclusively about keying into a nostalgic „gimmick”. It can be a rich opportunity, not only to explore the history of your craft, but also to take what you’ve learned and push it in a fresh, modern direction.
This concept, much like design itself, isn’t new. We can see evidence of design’s history all around us—some concepts just seem to be timeless, don’t they?
We could argue that strong usage of the principles of design makes for a good design—which, in some regards, is independent of aesthetic. However, it’s hard to say aesthetic isn’t important—form and function are a great team.
In my opinion, a historical aesthetic or visual perspective often makes a resurgence (or sticks around for the long haul) for a few reasons:
We’ve seen a lot of that in the late 2010s with the 1980s, and I get it. I’m part of that generation that grew up in the 80s and 90s. I love it. A big part of a successful design is connecting with your audience in a meaningful way, and this resonates with me, personally.
It reminds me of how I remember the 1950s being pretty popular in the 1980s. As a kid, I didn’t really get it (or connect with it)—but my parents’ generation sure did. Playing into the preconceived ideas of our target audience can be a powerful perspective.
Sometimes, you get a concept that really connects with the audience for the long haul. A great example is the Coca Cola logo. It’s had its tweaks, but it’s generally withstood the test of time since one of its revisions in the early 1900s (with the exception being some rebranding in the mid-80s).
Then, sometimes we get a concept that comes back in a different way—as a source of inspiration. Wood type posters, for example, heavily employed justified type that is „stacked” on top of itself. Variation in type is often line by line, with variations in style, weight, and width.
How many times have you seen a fast food bag with stacked, justified type? A recent example I’ve spotted is on Qdoba’s food bags; notice the varied type, notice the justified alignment.
So let’s take a look at a handful of periods from different parts of graphic design history and see how you can recreate some of the key aspects of each aesthetic. Looking „under the hood” often makes me think about my own work and projects in a different way.
Art Nouveau
An Introduction
Art Nouveau has been pretty popular in the last decade; I’ve seen a lot of fan art, for example, redone in an Art Nouveau-like style. It’s a popular aesthetic for a reason—it’s beautiful! The late 1800s and early 1900s were an interesting time in history; many places in the world were in the midst of large economic and industrial changes. Art Nouveau was an attempt to make the growing market for applied arts more „artful”.
Aesthetically, Art Nouveau tends to feature flowers and foliage and/or organic, swooping line work. It is often quite ornate, and it’s not unusual to see bold, sweeping line work in strategic places to create a sense of flowing movement.
When discussing the Art Nouveau period, one of the most well-known and well-loved artists is likely Alphonse Mucha; observe one of his works „6th Sokol Festival”, below. Note the emphasis on the use of organic shape, form, and line. There’s an ornate quality to the work; we see this reflected in the more supplementary parts of the composition too. For example, take note of the decorative borders and the line and shape used within the typography.
So let’s create something ornate and organic. Since we won’t have time in this article to walk through an entire illustration, let’s create something with a typographic focus.
Let’s start out by creating a basic layout. I want emphasis on the type, so I’ve placed it in the center of my composition. I deliberately used typefaces that work with my target aesthetic—flowing and curved.
Bringing It Together
To push this further, I added ornate, decorative elements. Remember, Art Nouveau has an organic quality—so even though I wanted to work with a somewhat symmetrical „frame”, I still tried to incorporate some organic variation and asymmetry, particularly in the background. How does this visually communicate to you?
The International Typographic Style
An Introduction
The International Typographic Style, also referred to as Swiss Style, is a concept that emerged and developed in the early to mid-1900s. It typically relies on a grid to organize and present content; there’s also an emphasis on asymmetry and sans serif type.
Most of us who have studied design, whether on our own or in an academic setting, have learned about using a grid—creating visual relationships and associations via a grid system has been a cornerstone of my studies, personally. The International Typographic Style is one of those history subjects that just looks timeless to me—check it out.
„Auto Club of Switzerland Poster”, Joseph Müller-Brockmann; „Gisele”, Armin Hofmann; „Tempel Tee-Haus Japan”, Armin Hofmann
Defining Attributes
However, simply using a grid isn’t all there is to this historic point in design history. Shapes or photographic elements often took the wheel, while illustrative elements were not incorporated. As the name would imply, there was an emphasis on typography, often as a key element. Symmetry was avoided, with a particular emphasis on alignment to the left, rag right.
Let’s take a look at „Zürich Town Hall Poster” by Josef Müller-Brockmann, below. Note the geometry and the visual relationships that the parts of the composition share. The shapes both create and reinforce the grid that the layout relies upon, while also creating both interest and movement.
„Zürich Town Hall Poster”, Joseph Müller-Brockmann
A Sample Design
Let’s create an example that’s clean and heavily relies on a grid. We’ll create basic shapes ourselves—no assets needed for that—and we’ll put a lot of emphasis on our typography.
However, the following typeface is utilized in this example:
I started out by clearly defining a grid. This will directly influence where I’ll place my type and how I establish my hierarchy. In the below example, the grid is visible, for your reference—but we won’t see it literally drawn out in the final version.
Bringing It Together
Notice how we can use design principles like scale and proximity to help promote the hierarchy here. Remember, asymmetry is a big part of this aesthetic. Do you „see” our grid? It’s not literally there anymore, but the elements of our design heavily imply and rely upon it.
De Stijl
An Introduction
De Stijl is an interesting movement, because we see some of the visual ideas from Swiss Design—there’s a lot of emphasis on a grid, but the guidelines are a bit more specific. We have emphasis on the horizontal and vertical in De Stijl—and color is limited to black, white, and primary colors. Abstraction and geometry are key here.
This might sound unusual to you as a content creator today—I can remember first seeing De Stijl and thinking, „How could someone design like that? Isn’t that really limiting?”
Think, however, about trendy color schemes, branding guidelines, and even interior design. Do you welcome every color, every aesthetic into your work or even your spaces? Restriction isn’t necessarily „bad”.
In this case, it was about the exploration of a visual ideal.
De Stijl was about abstraction and the appreciation of simplicity, as opposed to some of the „visual excess” seen in movements like Art Deco and Art Nouveau.
De Stijl has a pretty distinct look, in my opinion—limited colors and an emphasis on clean, geometric space. So let’s stick with a clean, geometric sans serif, line, and limited color.
The following typeface is utilized in this example:
I started by creating a grid, although this time my grid is more visibly and literally present.
Bringing It Together
Color and value can be used to create interest—that concept is rather independent of aesthetic or historical movement—but in this case, I decided to strategically apply the limited color scheme in a way that helps balance the composition and create emphasis.
Dadaism
An Introduction
Dada is an interesting movement; I would describe it as visually rebellious. However, it wasn’t necessarily always „chaos for chaos’s sake”. Instead, in many cases, it was a response to current events, a response to distrust, and/or a way of challenging what is and is not „art”.
This is an interesting movement to look at—especially after De Stijl and the International Typographic Style. Instead of order, we’re looking at the abstract and challenging what should and should not visually „be”. The subjective nature of art and design, as well as its role as a responsive and communicative tool, is an interesting concept to explore, regardless of the time period.
„Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic”, Hannah Höch
Defining Attributes
It’s difficult to define Dada as a singular aesthetic because the premise was breaking the rules and being non-conformist. There wasn’t supposed to be order or playing into expectations. Instead, the idea here was to subvert those expectations and challenge them.
For example, let’s look at Theo van Doesburg’s „Kleine Dada Soirée”, below. It’s quite jumbled and abstracted, but that’s also the point. A poster „should” generally be legible, with a well-established hierarchy and a clear message. This challenges all of those ideas, but it’s also the premise that it seeks to communicate to the audience.
So, with this sample concept, let’s just have some fun—let’s throw everything out of the window. I must admit, as a content creator, sometimes I get really fixated on what’s „the right thing—or most universally enjoyed thing—to do”.
While the intention of Dadaism was more complex than this, it’s still a perspective I find refreshing, when thinking about my own work.
Here are the typefaces I experimented with in this example:
Let’s break the grid. I started by abstractly placing typography on my canvas.
Bringing It Together
That’s not to say that we can’t communicate here. I decided to portray the phrase „Where am I?”—and I did so in a really disjointed and rather chaotic way. My objective was to visually communicate the feeling of being lost—there is no path and there is no order. I added some texture and imagery to help push my concept further.
The New York School
An Introduction
The New York School refers to a time in design history in the mid-1900s. We see similar ideas revolving around structure, visual associations, and even „the grid”—but with a degree of whimsy and informality.
Here’s an example by graphic design great Saul Bass; notice how we see organized structure here, in this poster for „The Man With the Golden Arm”, but there’s some expressive variation thrown into the mix too. The jostled shapes and the strategic informality are very communicative, even though the shapes themselves are simple.
Any time I’ve studied or taught design history, one of the most popular names that pops up, time and time again, is Paul Rand—and for good reason. He created some really outstanding, timeless works. The ABC logo? Paul Rand. The classic UPS logo? Paul Rand. The IBM logo? Paul Rand. His work generally embodied the idea that strong design is a partnership of form and function used to visually communicate an idea.
Personally, when I think of The New York School as a part of design history, I think of concept—an emphasis on communicating that concept in a visual way. The old-school UPS logo is a great example—we see a shield, which communicates trust and protection, and we see a package on top, which the shield „holds up”.
So, in this composition, let’s focus on communicating a concept in a visual way. I decided I wanted to communicate that giving flowers is a loving gesture—or that if you give a flower, it can be an expression of love or affection.
Here are the images I worked with in this example:
I started off by deciding where I wanted the parts of my composition to go—like a basic thumbnail.
Bringing It Together
Then, I arranged the lips to visually associate with the top of the flower, visually associating them as one and the same. The kiss isthe flower—because the flower is the kiss.
This Is Just the Beginning!
Thank you for joining me on this survey of different points in graphic design history! These are just some ideas to get you started and inspired. There’s so much more to explore here. If you’d like more design history in your life, I’d highly recommend picking up a copy of Megg’s History of Graphic Design; it’s a marvelous book!
Good luck with your research, exploration, and creative projects—happy designing!
If you enjoyed this article, here are some others you might enjoy!
Looking for inspiration? Why not consider taking a look at the past—graphic design history, that is. In this article, we’ll take a look at five different points in design history and see how they could potentially inspire your next design project.
Why Design History?
History Has Value
Personally, I don’t think it’s uncommon to see a lot of emphasis on design trends. Who doesn’t want to be relevant? We, as content creators, want to know what’s stylish, what’s popular, and ultimately, what people want to see (and that kind of awareness is generally smart!). We want our portfolio and our presence to look up to date and in touch with our target audience, whether it’s niche or broad.
However, there’s something to be said for history—design history, specifically.
Using design history as inspiration is more than creating a „retro design”. We could potentially do that, in theory—but using history as a point of inspiration (or even continued education) is not necessarily exclusively about keying into a nostalgic „gimmick”. It can be a rich opportunity, not only to explore the history of your craft, but also to take what you’ve learned and push it in a fresh, modern direction.
This concept, much like design itself, isn’t new. We can see evidence of design’s history all around us—some concepts just seem to be timeless, don’t they?
We could argue that strong usage of the principles of design makes for a good design—which, in some regards, is independent of aesthetic. However, it’s hard to say aesthetic isn’t important—form and function are a great team.
In my opinion, a historical aesthetic or visual perspective often makes a resurgence (or sticks around for the long haul) for a few reasons:
We’ve seen a lot of that in the late 2010s with the 1980s, and I get it. I’m part of that generation that grew up in the 80s and 90s. I love it. A big part of a successful design is connecting with your audience in a meaningful way, and this resonates with me, personally.
It reminds me of how I remember the 1950s being pretty popular in the 1980s. As a kid, I didn’t really get it (or connect with it)—but my parents’ generation sure did. Playing into the preconceived ideas of our target audience can be a powerful perspective.
Sometimes, you get a concept that really connects with the audience for the long haul. A great example is the Coca Cola logo. It’s had its tweaks, but it’s generally withstood the test of time since one of its revisions in the early 1900s (with the exception being some rebranding in the mid-80s).
Then, sometimes we get a concept that comes back in a different way—as a source of inspiration. Wood type posters, for example, heavily employed justified type that is „stacked” on top of itself. Variation in type is often line by line, with variations in style, weight, and width.
How many times have you seen a fast food bag with stacked, justified type? A recent example I’ve spotted is on Qdoba’s food bags; notice the varied type, notice the justified alignment.
So let’s take a look at a handful of periods from different parts of graphic design history and see how you can recreate some of the key aspects of each aesthetic. Looking „under the hood” often makes me think about my own work and projects in a different way.
Art Nouveau
An Introduction
Art Nouveau has been pretty popular in the last decade; I’ve seen a lot of fan art, for example, redone in an Art Nouveau-like style. It’s a popular aesthetic for a reason—it’s beautiful! The late 1800s and early 1900s were an interesting time in history; many places in the world were in the midst of large economic and industrial changes. Art Nouveau was an attempt to make the growing market for applied arts more „artful”.
Aesthetically, Art Nouveau tends to feature flowers and foliage and/or organic, swooping line work. It is often quite ornate, and it’s not unusual to see bold, sweeping line work in strategic places to create a sense of flowing movement.
When discussing the Art Nouveau period, one of the most well-known and well-loved artists is likely Alphonse Mucha; observe one of his works „6th Sokol Festival”, below. Note the emphasis on the use of organic shape, form, and line. There’s an ornate quality to the work; we see this reflected in the more supplementary parts of the composition too. For example, take note of the decorative borders and the line and shape used within the typography.
So let’s create something ornate and organic. Since we won’t have time in this article to walk through an entire illustration, let’s create something with a typographic focus.
Let’s start out by creating a basic layout. I want emphasis on the type, so I’ve placed it in the center of my composition. I deliberately used typefaces that work with my target aesthetic—flowing and curved.
Bringing It Together
To push this further, I added ornate, decorative elements. Remember, Art Nouveau has an organic quality—so even though I wanted to work with a somewhat symmetrical „frame”, I still tried to incorporate some organic variation and asymmetry, particularly in the background. How does this visually communicate to you?
The International Typographic Style
An Introduction
The International Typographic Style, also referred to as Swiss Style, is a concept that emerged and developed in the early to mid-1900s. It typically relies on a grid to organize and present content; there’s also an emphasis on asymmetry and sans serif type.
Most of us who have studied design, whether on our own or in an academic setting, have learned about using a grid—creating visual relationships and associations via a grid system has been a cornerstone of my studies, personally. The International Typographic Style is one of those history subjects that just looks timeless to me—check it out.
„Auto Club of Switzerland Poster”, Joseph Müller-Brockmann; „Gisele”, Armin Hofmann; „Tempel Tee-Haus Japan”, Armin Hofmann
Defining Attributes
However, simply using a grid isn’t all there is to this historic point in design history. Shapes or photographic elements often took the wheel, while illustrative elements were not incorporated. As the name would imply, there was an emphasis on typography, often as a key element. Symmetry was avoided, with a particular emphasis on alignment to the left, rag right.
Let’s take a look at „Zürich Town Hall Poster” by Josef Müller-Brockmann, below. Note the geometry and the visual relationships that the parts of the composition share. The shapes both create and reinforce the grid that the layout relies upon, while also creating both interest and movement.
„Zürich Town Hall Poster”, Joseph Müller-Brockmann
A Sample Design
Let’s create an example that’s clean and heavily relies on a grid. We’ll create basic shapes ourselves—no assets needed for that—and we’ll put a lot of emphasis on our typography.
However, the following typeface is utilized in this example:
I started out by clearly defining a grid. This will directly influence where I’ll place my type and how I establish my hierarchy. In the below example, the grid is visible, for your reference—but we won’t see it literally drawn out in the final version.
Bringing It Together
Notice how we can use design principles like scale and proximity to help promote the hierarchy here. Remember, asymmetry is a big part of this aesthetic. Do you „see” our grid? It’s not literally there anymore, but the elements of our design heavily imply and rely upon it.
De Stijl
An Introduction
De Stijl is an interesting movement, because we see some of the visual ideas from Swiss Design—there’s a lot of emphasis on a grid, but the guidelines are a bit more specific. We have emphasis on the horizontal and vertical in De Stijl—and color is limited to black, white, and primary colors. Abstraction and geometry are key here.
This might sound unusual to you as a content creator today—I can remember first seeing De Stijl and thinking, „How could someone design like that? Isn’t that really limiting?”
Think, however, about trendy color schemes, branding guidelines, and even interior design. Do you welcome every color, every aesthetic into your work or even your spaces? Restriction isn’t necessarily „bad”.
In this case, it was about the exploration of a visual ideal.
De Stijl was about abstraction and the appreciation of simplicity, as opposed to some of the „visual excess” seen in movements like Art Deco and Art Nouveau.
De Stijl has a pretty distinct look, in my opinion—limited colors and an emphasis on clean, geometric space. So let’s stick with a clean, geometric sans serif, line, and limited color.
The following typeface is utilized in this example:
I started by creating a grid, although this time my grid is more visibly and literally present.
Bringing It Together
Color and value can be used to create interest—that concept is rather independent of aesthetic or historical movement—but in this case, I decided to strategically apply the limited color scheme in a way that helps balance the composition and create emphasis.
Dadaism
An Introduction
Dada is an interesting movement; I would describe it as visually rebellious. However, it wasn’t necessarily always „chaos for chaos’s sake”. Instead, in many cases, it was a response to current events, a response to distrust, and/or a way of challenging what is and is not „art”.
This is an interesting movement to look at—especially after De Stijl and the International Typographic Style. Instead of order, we’re looking at the abstract and challenging what should and should not visually „be”. The subjective nature of art and design, as well as its role as a responsive and communicative tool, is an interesting concept to explore, regardless of the time period.
„Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic”, Hannah Höch
Defining Attributes
It’s difficult to define Dada as a singular aesthetic because the premise was breaking the rules and being non-conformist. There wasn’t supposed to be order or playing into expectations. Instead, the idea here was to subvert those expectations and challenge them.
For example, let’s look at Theo van Doesburg’s „Kleine Dada Soirée”, below. It’s quite jumbled and abstracted, but that’s also the point. A poster „should” generally be legible, with a well-established hierarchy and a clear message. This challenges all of those ideas, but it’s also the premise that it seeks to communicate to the audience.
So, with this sample concept, let’s just have some fun—let’s throw everything out of the window. I must admit, as a content creator, sometimes I get really fixated on what’s „the right thing—or most universally enjoyed thing—to do”.
While the intention of Dadaism was more complex than this, it’s still a perspective I find refreshing, when thinking about my own work.
Here are the typefaces I experimented with in this example:
Let’s break the grid. I started by abstractly placing typography on my canvas.
Bringing It Together
That’s not to say that we can’t communicate here. I decided to portray the phrase „Where am I?”—and I did so in a really disjointed and rather chaotic way. My objective was to visually communicate the feeling of being lost—there is no path and there is no order. I added some texture and imagery to help push my concept further.
The New York School
An Introduction
The New York School refers to a time in design history in the mid-1900s. We see similar ideas revolving around structure, visual associations, and even „the grid”—but with a degree of whimsy and informality.
Here’s an example by graphic design great Saul Bass; notice how we see organized structure here, in this poster for „The Man With the Golden Arm”, but there’s some expressive variation thrown into the mix too. The jostled shapes and the strategic informality are very communicative, even though the shapes themselves are simple.
Any time I’ve studied or taught design history, one of the most popular names that pops up, time and time again, is Paul Rand—and for good reason. He created some really outstanding, timeless works. The ABC logo? Paul Rand. The classic UPS logo? Paul Rand. The IBM logo? Paul Rand. His work generally embodied the idea that strong design is a partnership of form and function used to visually communicate an idea.
Personally, when I think of The New York School as a part of design history, I think of concept—an emphasis on communicating that concept in a visual way. The old-school UPS logo is a great example—we see a shield, which communicates trust and protection, and we see a package on top, which the shield „holds up”.
So, in this composition, let’s focus on communicating a concept in a visual way. I decided I wanted to communicate that giving flowers is a loving gesture—or that if you give a flower, it can be an expression of love or affection.
Here are the images I worked with in this example:
I started off by deciding where I wanted the parts of my composition to go—like a basic thumbnail.
Bringing It Together
Then, I arranged the lips to visually associate with the top of the flower, visually associating them as one and the same. The kiss isthe flower—because the flower is the kiss.
This Is Just the Beginning!
Thank you for joining me on this survey of different points in graphic design history! These are just some ideas to get you started and inspired. There’s so much more to explore here. If you’d like more design history in your life, I’d highly recommend picking up a copy of Megg’s History of Graphic Design; it’s a marvelous book!
Good luck with your research, exploration, and creative projects—happy designing!
If you enjoyed this article, here are some others you might enjoy!